Recently, Indigenous commentators have begun to analyse the way in which institutional Research Ethics Boards engage with Indigenous researchers and participants, respond to Indigenous peoples’ concerns with academic research activities, and scrutinise the ethics proposals of Indigenous scholars. Of particular concern for Indigenous commentators is that the work of REBs often results in the marginalisation of Indigenous approaches to knowledge construction and dissemination, especially in relation to the vexed issue of informed consent. Based on analysis of the results of research (...) with Indigenous researchers and research participants, this paper argues that institutionalised REBs’ preference for ‘universal’ and ‘individualised’ approaches for determining ethical research conduct marginalises Indigenous approaches to ethical research conduct. The paper concludes by calling for a decolonisation of REB processes through recognition of the validity of communal processes for attaining the informed conse... (shrink)

RICHARD MILLS, THE POLITICS OF FOOTBALL IN YUGOSLAVIA: SPORT, NATIONALISM AND THE STATE, I. B. TAURIS, LONDON, 2018.Balša Delibašić.

The plot of Iphigenia in Tauris is usually thought to be Euripides' own invention. Its basic assumption can be found in Proclus' summary of the Cypria, viz. that a deer was substituted for Iphigenia during the sacrifice at Aulis and that she herself was removed to the land of the Tauri. Her later rescue by Orestes and Pylades, however, cannot be traced with probability to any work of art or literature earlier than Euripides' play. In this play, in which (...) Orestes recognizes and then saves the sister whom he had long thought dead, it is assumed that her replacement by a deer went unseen by those present at the sacrifice. The sequel which this assumption allowed Euripides to invent is original only in a limited sense, since it bears the imprint of several familiar story types. These types include the following: the murder of a kinsman is narrowly averted by a recognition; a reunion is followed by an intrigue; and a maiden is rescued. Each is used elsewhere by Euripides. The first two, for example, are found in Cresphontes, the second in Electra, and the third in Andromeda. Correspondences of this sort, based on plot patterns, will naturally gain in interest if it can be shown that they throw light on a play's meaning or on the process that led to its creation. The student of dramatic plots, however, soon discovers that analogies between them are easy to draw and can be quickly multiplied. (shrink)

This essay examines Aristotle's discussion of the recognition scenes in Euripides' Iphigenia in Tauris and in Polyidus' alternative scenario. It suggests that Aristotle might show interest in Polyidus because he intuits the significance of the timing of the recognition scenes within the plot. Gluck's eighteen-century opera, Iphigénie en Tauride, maintains the general structure of Euripides' play but borrows Polyidus' recognition scene. The operatic recognition provides a clear dramatic frame to the brief references to Polyidus in the Poetics and facilitates an (...) analysis of the differences between Euripides and Polyidus. (shrink)

Daylight is the primary cue used by circadian clocks to entrain to the day/night cycle so as to synchronize physiological processes with periodic environmental changes induced by Earth rotation.However, the temporal daylight pattern is not the same every day due to erratic weather fluctuations or regular seasonal changes. Then, how do circadian clocks operate properly in varying weather and seasons? In this paper, we discuss the strategy unveiled by recent studies of the circadian clock of Ostreococcus tauri, the smallest (...) free‐living eukaryotic organism. It combines mechanisms controlling light inputs and clock sensitivity, shaping both the dynamics of the core circadian oscillator and its forcing by light so as to ensure stable and precise synchronization in all weather and seasons.Editor's suggested further reading in BioEssays: Another place, another timer: Marine species and the rhythms of life Abstract. (shrink)

The plot of Iphigenia in Tauris is usually thought to be Euripides' own invention. Its basic assumption can be found in Proclus' summary of the Cypria, viz. that a deer was substituted for Iphigenia during the sacrifice at Aulis and that she herself was removed to the land of the Tauri. Her later rescue by Orestes and Pylades, however, cannot be traced with probability to any work of art or literature earlier than Euripides' play. In this play, in which (...) Orestes recognizes and then saves the sister whom he had long thought dead, it is assumed that her replacement by a deer went unseen by those present at the sacrifice. The sequel which this assumption allowed Euripides to invent is original only in a limited sense, since it bears the imprint of several familiar story types. These types include the following: the murder of a kinsman is narrowly averted by a recognition; a reunion is followed by an intrigue; and a maiden is rescued. Each is used elsewhere by Euripides. The first two, for example, are found in Cresphontes, the second in Electra, and the third in Andromeda. Correspondences of this sort, based on plot patterns, will naturally gain in interest if it can be shown that they throw light on a play's meaning or on the process that led to its creation. The student of dramatic plots, however, soon discovers that analogies between them are easy to draw and can be quickly multiplied. (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 93 Heft: 1 Seiten: 243-247.

The foundations of Christian culture were formed by Byzantium, which became a kind of "bridge" between the West and the East, between antiquity and the Middle Ages. For the Byzantine culture of the IV-XII centuries, there was a characteristic existence of three directions - the official theology, ascetic and "anti-knitting". The relationship between them varied in different ways during the history of Imperialism, which was reflected in its culture. In the IV-VI centuries dominant were patristic and ascetic directions. The official (...) theology at this stage of history was closely connected with the "anti-knotting" and sought dialogue with the ancient tradition. Only during the "Comnenian Renaissance" in the XI-XII centuries was the confrontation between ascetic and "anti-knitting" directions. (shrink)